NEWS: Principal cast announced for new production of Rogers And Hammerstein's perennial favourite, 'South Pacific'.

JAMIE WILSON, JONATHAN CHURCH THEATRE PRODUCTIONS AND GAVIN KALIN

ANNOUNCE

PRINCIPAL CASTING

 

JULIAN OVENDEN, GINA BECK,

ROB HOUCHEN, JOANNA AMPIL

AND SERA MAEHARA

TO STAR IN THE SADLER’S WELLS SEASON AND

TEN-WEEK UK & IRELAND TOUR OF

THE CHICHESTER FESTIVAL THEATRE PRODUCTION OF

RODGERS & HAMMERSTEIN’S

SOUTH PACIFIC

OPENING AT THE MANCHESTER OPERA HOUSE

ON 16 JULY 2022

 

SEASON AT SADLER’S WELLS, LONDON

FROM 27 JULY – 28 AUGUST 2022

 

AHEAD OF A LIMITED UK AND IRELAND TOUR

 

Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin are delighted to announce that Julian Ovenden will star as ‘Emile de Becque’ throughout the Sadler’s Wells season and UK Tour of the critically acclaimed, landmark Chichester Festival Theatre production of RODGERS & HAMMERSTEIN’S SOUTH PACIFIC alongside the previously announced Gina Beck as ‘Ensign Nellie Forbush’. Julian and Gina will be joined by fellow members of the original Chichester Festival Theatre company; Rob Houchen as ‘Lieutenant Joseph Cable’, Joanna Ampil as ‘Bloody Mary’ and Sera Maehara as ‘Liat’

 

The production opens at Manchester Opera House on 16 July 2022 ahead of a season at Sadler’s Wells, London from 27 July to 28 August 2022 (with a press night on 4 August 2022) and throughout the limited 10-week UK and Ireland Tour visiting Dublin, Newcastle, Birmingham, Glasgow, Cardiff, Nottingham, Edinburgh, Leeds and Canterbury. Chichester’s Artistic Director Daniel Evans, will once again direct Julian, Gina, Rob, Joanna and Sera as they reprise the roles they played to enormous critical and audience acclaim at Chichester Festival Theatre in the summer of 2021.

 

Full casting to be announced in due course. www.southpacificshow.com

 

This powerful love story, set on a South Pacific Island during World War ll is brought thrillingly to life with a sensational cast of over thirty and a full orchestra in this epic new five-star production directed by Chichester Festival Theatre’s Artistic Director Daniel Evans. SOUTH PACIFIC boasts one of Rodgers & Hammerstein’s most memorable scores, and this much-loved Tony and Pulitzer Prize-winning musical features songs such as “Some Enchanted Evening”, “I’m Gonna Wash That Man Right Outa My Hair” and “Bali Ha’i”.

Julian Ovenden is perhaps best known for playing ‘Charles Blake’ in ITV’s Downton Abbey. He is also an international recording artist and has starred on Broadway and in the West End. His West End credits include All About Eve at the Noel Coward Theatre, Marguerite at the Theatre Royal Haymarket, The Treatment at the Almeida Theatre, and My Night With Reg, Merrily We Roll Along and Grand Hotel at the Donmar Warehouse. On Broadway he has been seen in Showboat with the New York Philharmonic at the Lincoln Centre and Butley at the Booth Theatre. He has also performed at several of the BBC Proms and played Captain Georg von Trapp in The Sound of Music Live on ITV.

Gina Beck’s many West End theatre credits include playing ‘Miss Honey’ in Matilda at the Cambridge Theatre, ‘Magnolia’ in Show Boat at the New London Theatre, ‘Glinda’ in Wicked at the Apollo Victoria, ‘Christine Daae’ in The Phantom of the Opera at Her Majesty’s Theatre and ‘Cosette’ in Les Misérables at the Queen’s Theatre. Her television credits include Doctors, The Return of Sherlock Holmes and The Crush. Her film credits include Les Misérables.

Rob Houchen’s West End credits include Les Misérables at the Queen’s Theatre, Les Misérables  The All Star Concert at the Gielgud Theatre, City of Angels at the Garrick Theatre, Godspell in Concert at The Lyric Theatre and Broken Wings at Theatre Royal Haymarket. His other theatre credits include The Light in the Piazza at the Royal Festival Hall, Eugenius! at The Other Palace and Titanic at Charing Cross Theatre.

Joanna Ampil’s West End credits include playing ‘Kim’ in Miss Saigon and at the 10^th Anniversary Performance, ‘Mary Magdalene’ in Jesus Chris Superstar, ‘Eponine’ in Les Miserables, ‘Fantine’ in Les Miserables, ‘Grizabella’ in Cats, ‘Christmas Eve’ in Avenue Q and Sheila Franklin in ‘Hair’. Her other theatre credits include ‘Mimi’ in the European Tour of Rent, ‘Thanh’ in the World Premiere of The Real Love in Los Angeles and ‘Maria’ in West Side Story, ‘Maria Von Trapp’ in The Sound of Music, ‘Jenna’ in Waitress and ‘Nellie Forbush’ in South Pacific in Concert, all in Manila.

Sera Maehara’s theatre and dance credits include Warrior Queens at Sadler’s Wells, Qualms directed by Julia Cheng, Carmen for Dance Marche and as a soloist for the Roussewaltz Dance Company and Junior Associate Artist for Fabula Collective, directed by Yukiko Tsukamoto. Her film and television credits include ‘Kaede’ in Kid That Never Fell and ‘Mayu Huruta’ in Pakodate Jin.

SOUTH PACIFIC is directed by Daniel Evans, with set and costume design by Peter McKintosh, and choreography and movement direction from Ann Yee. The Musical Supervisor is Nigel Lilley, Musical Director is Cat Beveridge and new orchestration is by David Cullen, with original Broadway orchestration by Robert Russell Bennett. The lighting designer is Howard Harrison, sound designer is Paul Groothuis, video designer is Gillian Tan, additional arrangements and Happy Talk orchestration is by Theo Jamieson, casting director is Charlotte Sutton CDG and additional children’s casting by Verity Naughton.

SOUTH PACIFIC is produced by Jamie Wilson, Jonathan Church Theatre Productions and Gavin Kalin.

FILM REVIEW: The Godfather: 50th Anniversary Edition - Vue Cinema, The Printworks, Manchester.

Francis Ford Coppola’s adaptation of Mario Puzo’s epic American tragedy, The Godfather is back on the big screen, and it looks and sounds as gorgeous today as I imagine it did back in 1972. Presented in 4K and High Dynamic Range, this cinema experience was much more pleasant than when I went to see Apocalypse Now: Final Cut in the IMAX, back in the summer of 2019.

Now as to whether an old film can truly be remastered in 4K is up for debate (I’m inclined to say no, but I don’t wish to go into it in this review). Nevertheless the picture was superb, and the rich golden tones thanks to the Technicolor dye-imbibition process really pop off the screen in contrast with the velvety black. Does it look that different to my Blu-ray copy for ten years ago? Ummmmmmmmm, not particularly; although the only bits where I would say it is obvious are some very grainy shots early on in the film that are clearly stock footage. I’m just happy to finally see one of the greatest films ever made in the cinema.

You know on Desert Island Discs, where you’re automatically given a copy of the Bible and Shakespeare? Well I’ve always said (when asked, what my favourite film is) that The Godfather should be automatically counted. I mean, who doesn’t love The Godfather?... Maybe Frank Sinatra. The Godfather is one of those films that even if you have not seen it, you know the quotes and key moments. We all know Don Vito’s phrases (“I’m gonna make him an offer he can’t refuse” “A man who doesn’t spend time with his family can never be a real man” and “I’d buy that for a dollar!”), we all know the horse's head in a bed (Spoilers I guess? The film is 50 years old, and if you’ve not seen the film or it referenced in The Simpsons and just about everything else then where have you really been?) It’s as important a part of Western pop culture as it is for cinema.

Seeing the film on the big screen, I did notice some things that I wouldn’t have on the television. For instance, the old man who sings ‘Luna Mezz’o Mare’ at Connie and Carlo’s wedding, his false teeth come away from his gums mid verse and he almost spits them out. In the scene where Carlo beats Connie, there are two photographs of Vito and Carmela Corleone which are clearly stills from the aforementioned wedding scene sitting on the mantelpiece. Diane Keaton’s eyebrows are one minute pencil lines, next minute thick and natural eyebrows. (This one was quite distracting). I never noticed how Jack Woltz, a millionaire film producer who shows off his wealth to Tom Hagen and has him around for a very fancy dinner, with his best tableware no doubt, has a grubby bottle of Heinz ketchup on the dining table. They weren’t even eating anything that warranted ketchup! You know, it’s these little details that Francis Coppola wanted to me to pay attention to when seeing The Godfather on the big screen.

Teeth, eyebrows and ketchup aside, I found myself gently smiling at the opening wedding scene. I really do believe it’s one of the best film openings (asides from the Club Obi Wan Anything Goes scene in Temple of Doom, but that’s just good fun), we’re introduced to the main players and we get an idea of their personality and characteristics. You may say that’s what all opening scene are like and I’ll say well yeah, but I like this one in particular. The Sicily scenes also had me smiling and the hairs of the back of my neck stood up when the love theme swells as Michael strolls over the hills of Sicily.

Talking of music, Nino Rota’s soundtrack is phenomenal. I’ve always been a fan of it but to hear it through the cinema’s sound system really made it special. I don’t think anyone else could have made a soundtrack that fits and works with the film and story so appropriately, even if they had every possible resource to hand. It was probably the highlight of this experience. I really ought to get the soundtrack on vinyl... I really ought to get the soundtrack to Part II too. I really ought to listen to more of Nino Rota’s music. I really ought to just keep these thoughts to myself and not type them out...!

On a broader note, it was nice to be back in the cinema and watching something I actually enjoyed. I think for a long time (before COVID and the likes) I had unfairly associated going to the cinema as not being an enjoyable time. I now realise that it wasn’t the cinema itself, but more the films I was watching that soured my experiences. It’s absolutely great going to the picture house to see a ruddy good film! However, along with the joy of seeing The Godfather in the cinema comes the slightly depressing thought that I have now seen all the classic films I’ve wanted to see in the cinema, in the cinema. And to add to this pain, I was subjected to a trailer for the new Sandra Bullock film that looked absolutely awful and was a violent slap in the face that reminded me that this is what Hollywood and the film industry has become... Sandra Bullock trying to be funny on an unconvincing jungle set. Produced by Paramount, you know, the same company that produced The Godfather.

Saying that, The Godfather Part II is going to be shown in cinemas at some point this year, and as much as I love Part II, I don’t have that “I must see this in the cinema” urge that I do for the first film. However I will probably go and see it still. There’s this certain feeling, emotion even, that is provoked when seeing this film, and also when I saw Apocalypse Now and The Empire Strikes Back that is these are really made for the big screen. It’s a rather unimaginative and clumsy way of putting it, but I don’t have it with newer films, even ones I’ve really enjoyed it. It’s something about the spectacle of it all. The craft that’s gone into every shot. The Godfather is one of those films where you could take a screengrab from any moment, and it would look great. I think it maybe a mix of that and having only ever seen these films on a television. One day I’ll be able to explain it better, maybe even create a term for it. Watch this space.

I would have been happy seeing this on the big screen even if it was a dreadful VHS copy; I know that aside from celebrating one of the most important films ever made, it’s also a chance for Coppola to cash in and finance his next independent picture, or to buy all copies of Jack to destroy them. I’m just happy to have seen it, and you can too as it is in cinemas until 3rd March I believe.

I’m sorry to those of you that was expecting a serious, academic, in depth review of The Godfather, but it’s been done to death for the last 50 years, and it probably will be done to death for the next 50 years. Seeing this film was a personal thing for me. We all know The Godfather is great, you don’t need another pipsqueak telling you why. It was a great film that made for an equally great cinematic experience, and I really enjoyed it and so did everyone at the screening. Go and see it. 

Reviewer – Daryl Griffin
on - 26/2/22

THEATRE REVIEW: Parallel Lives - Hope Mill Theatre, Manchester.

For two nights only, In Parallel Productions took over Hope Mill Theatre in Manchester with the play, 'Parallel Lives' by American actresses Mo Gaffney and Kathy Najimy. This play however, is not a conventional one in any way, and in reality is a series of shorts or playlets for two actresses, connected only in the very loose sense of theme running through the whole evening - that of female empowerment.

The play starts with two heavenly bodies who had been tasked with helping to create the Earth, specifically, the humans. In a humorous duologue they decide to give women painful births and men, egos. Dressed in white t-shirts and dungarees, on a stage set with several A-frame step ladders, 2 white chests and little else, it was as if we had time-travelled back into the 1970s. I am old enough to remember when this technique of avant-garde, non-naturalist style theatre was innovative and "hey, wild, man!" Tonight it just felt somewhat contrived and derivative. 

The short plays went through various scenarios - all using only the same two actresses - as they dissected subjects such as womanhood, tampons, periods from a male perspective, young love, sex, prostitution, death, sisterhood, bulimia, homosexuality, pride, childbirth, female representation in Disney films and Shakespeare, Roman Catholicism, wokeness, abortion, relationships, female beauty, beauty regimes, and goodness knows what else, all wrapped in the "I have my own identity" blanket. Some were hilarious, and others were much softer and more reflective: some worked excellently, whilst others seemed a little weaker and underdeveloped; and some truly made you think, or re-think. But performed all together one after the other was too much. We were bored with the approach and the premise after just a few of the short plays, and needed a change, but the change never came. Either that or we needed to find out where these plays were going and be given a tangible connection between them all, but that never came either. 

I enjoyed the Victoria Wood-ness of the two girls discussing West Side Story, and the fun gained from a female shower routine peformed in the style of a silent movie, but overall the whole evening was too static, formulaic, and repetitive to truly engage in the production. That is not to diminish the talent of the three creatives responsible for this production. Both Suzanne Fulton and Stacey Coleman deserve the highest praise. Changing characters, ages and accents throughout with ease, whilst commanding the stage and our attention for such a long time was not an easy ask; but both proved to be engaging actresses who were more than capable, and their characterisations, as well as energy, were spot on every time. The whole was directed by Leni Murphy, who had solidly and clearly directed each vignette with thought and skill. My only thought perhaps was that moving the ladders etc was a tad long-winded at times; and maybe the pace would have picked up a little had there been no need to change the scenes and acted everything on the same tableau. 

Two or three of these short plays would have worked superbly if placed in an evening of short plays {let's say, since this is a Manchester-based outfit.. a J B Shorts}. We would have laughed heartily, enjoyed the commentary, and then moved on to something else. 

Reviewer - Matthew Dougall
on - 26.2.22 

BOOK REVIEW: Dare To Dream by Nikki and Scott Webster.

TITLE: Dare To Dream
AUTHOR: Nikki and Scott Webster
PUBLISHED BY: Nightingale Books / Pegasus

This heart-warming story has a reading age of up to 7 years.

It is the story of a young girl who falls asleep and dreams to do what she would love to do, ballet dance; however this young girl has a very large obstacle holding her back, she is in a wheelchair.

The book is beautifully presented with high quality glossy paper and superb attention to detail; colourful illustrations are on every other page; it is ideal for youngsters who will become absorbed looking at the illustrations whilst the story is being read to them.

The story is told in rhyme and I liked the words and terminology used throughout the book; there were no lengthy words or words which young children might not understand.

The book is a compact size making it manageable for any child with small hands to hold. Plus, it has easy-to-slide pages which make it easier for small hands eagerly wanting to turn over to the next part of the story to handle. Additionally, the front and back covers of the book may be wiped clean if necessary; a bonus practicality for parents reading it to youngsters with sticky fingers.   

Reviewer - Anne Pritchard

THEATRE REVIEW: Follow Me: An Immersive Ghost Hunting Adventure - Bethnal Green Mansion, London.

I arrived at the Bethnal Green Mansion expecting this to be our starting point for a ghost hunting walk around the East End of London. A place with a long history of dark and murderous activity. Little did I know that this performance would be far from that. What followed was nothing that I had foreseen. The Mansion had been abandoned amidst mysterious circumstances in the 1970s and taken on by Tower Hamlets Council. But fortunately, in the year 2022 there was a makeshift bar selling a minimalist selection of beverages.

We made our way to an empty room where we were to be briefed and warned about what may follow and experience. It was all very atmospheric and anticipatory - setting the scene. Then into the room, with our pre-practised roar of applause, arrived Harriet and Jimmy (YouTube sensations). They were to be our hosts for the evening and they were filming their 100th episode of the YouTube ghost hunting series. Harriet (Alice Merivale) and Jimmy (Ciaran John) were joined by Cara (Milla Harding), the cameraperson and Harriet’s love interest, and Gwyn (Christopher Blackmore), some kind of weird pseudo fan. What we didn’t expect was to find that we were embroiled in some kind of unprofessional relationship with a lot of power struggles and emotional outpourings. All this running alongside the ghost hunting experience.

The four leaders all wearing bottles of holy water around their neck was a warning of what we might encounter during the walkabout tour. The audience were immersed in the experience, and given tasks; I was lucky enough to have been taken into the technology team and given a camera. I then spent most of the evening taking photographs of paranormal ‘evidence’. One group was given historical knowledge and one group given ghost hunting information. We were ready for action. We had been fired up and ready to investigate. Down into the gloomy basement we went – an area of the house sealed off for four decades. Fortunately, others in our techy team had been given torches and UV lights, so it wasn’t completely dark inside.

We were looking for clues and information. Engaged in different group activities, I kept expecting something scary to jump out. By this point I was beginning to wish things would speed up and that something would happen. I was nervous throughout the evening as I thought it would be something like a ghost train at the funfair. What I hadn’t realised at the beginning of the evening was that the whole thing was a fully immersive performance and that our four actors were playing for laughs! 'Follow Me' was a funny experience for everyone involved and there was no opting out – if you were at the performance you had to join in. But I did find it overly long and waiting for the final crescendo seemed a long time in coming. No plot spoilers here, but needless to say the holy water was a key thing, after all. I thought it was deliberately acted like a rehearsal for a school play – with very immature and adolescent egos – definitely aimed at the majority of the young and hipster audience (this was the cool part of London’s East End, after all), I was probably a bit old and long in the tooth for it. But an enjoyable and very different evening was had by all and it ended back in the bar!

Be aware that there are adult themes, language and scary events when booking tickets.

Reviewer - Penny Curran
on - 25.2.22

AMATEUR DANCE REVIEW: Born To Dance - The Forum Theatre, Romiley. Greater Manchester.

Romiley's Forum Theatre played host to The Alicia School Of Dance this evening as they presented their annual showcase of their students' achievements to an enthusiatic audience of majority family and friends. 

The Alicia School Of Dance obviously caters for a wide range of dance styles, and takes students from as young as three years old to adult. In fact it was heartening to see more mature ladies performing their tap and street dance routines - it signifies exactly the importance schools like this have in the community.

With 29 dances in all throughout the evening, from classical ballet, contemporary ballet / dance, street dance, hip hop, tap, and commercial, it would be impossible to mention them all. Suffice to say that I enjoyed watching and supporting these youngsters / teenagers / adults, as they 'strutted their stuff' proudly showing us their skills and abilities. Some dances were more exiting than others, writing from a purely subjective point of view, but all were age and ability appropriate and all used the space well. 

What I did find was that in some instances the choreography did not seem to gel with the style and lyrics of the music being played, which was a shame; but the costuming in general was good, and the students worked extremely hard to try to convey to the audience the meaning / feel of the dances they were performing in. I do think (again, another subjective point), that the dancers could have, by and large, done to have smiled and looked like they were enjoying themselves a lot more than some of them did; but I can't take away the commitment and energy that each and every student gave to their part.

I would like here however to mention those dances which, for me, I found to be the most enjoyable. I was looking for co-ordination, precision, team-work, as well as interesting choreography, good use of space and dancers, music and lighting used etc... in other words, which dances were the most theatrical! In the order they appeared on the programme, these were: "Turn Up The Music" (Grade 1); "Zero To Hero" (Rosettes); "Church" (Seniors 1); "Circle Of Life" (Primary 1G2); "Pink" (Contemporary); "Sissy That Walk" (Seniors 1G2); "Men In Black" (Primary 2 grade 1); "Busta Rhymes" (Big Street); and my favourite of the whole evening, "Minnie The Moocher" (Senior 1 G2), - I loved the use of chairs and the tap routine was very well executed, with a lovely picture ending! Very sassy and "Chicago"-esque.

Of course the very young ones deserve a special mention... the vast majority of them being on stage and in front of an audience for their first time, and giving us all the cute and "ah" factor! With a few of them clearly loving the limelight and stealing the show!

After two years of being unable to have any real in-person sessions, and live performances being put on hold, it was great to be able to watch these enthusiastic and highly capable youngsters and teenagers doing what they love!

Reviewer - Chris Benchley
on - 25.2.22

BOOK REVIEW: Church by Sal Starling

TITLE: Church
AUTHOR: Sal Starling
PUBLISHED BY: Pentad Books

This creepy tale is set in two time periods, which works very well. It is an edge-of-the-seat, easy read which gripped me right from the start and absolutely did not disappoint.

Starting a new life in a small village, a couple set up home in what they think is the perfect location; a cottage with two acres of land for Dan to start his Garden Centre business and the offer of a redundant church for Jess to convert into an art studio. 

Slowly the local church starts to reveal its dark secrets and Dan and Jess’s lives are thrown into disarray; a centuries-old curse threatens to put an end to their happiness. Discovering the ancient building isn't completely empty, Jess soon discovers that whatever she shares it with is far from friendly.

Jess soon discovers Saint Roch's dreadful secret which leaves her uncertain of which way to turn, undecided between wanting to flee to save those she loves or to stay to confront the monster that will continue to kill as long as the curse of Coldstone exists.

Equal measures of suspense and horror are drip-fed to readers as the book builds to its climax; readers are taken on a journey which pits good against evil and hope against terror. The storyline is imaginative and chilling and left me wanting more; it is an entertaining story told concisely and imaginatively.

Readers who enjoy a supernatural chiller with some pretty horrific images will be left wanting more.  'The curse' could have wreaked a bit more havoc to make the story longer but overall Starling knows how to tell an entertaining story and leave readers in anticipation of what will happen next. It is a page-turner which had me gripped until the final page; an outstanding, spine-chilling read.

Reviewer - Anne Pritchard

THEATRE REVIEW: The Last Quiz Night On Earth - The Derby Brewery Arms, Cheetham Hill, Manchester.

Welcome to the end of the world! A large asteroid is speeding towards the Earth, and we all have only a matter of a couple of hours or so to live before the apocalypse. So what better way is there than to spend those final hours at your local, among friends, doing a pub quiz!

Box Of Tricks Theatre Company are well-known for performing interactive and immersive theatre in non-conventional theatre spaces; and so it came as no surprise that we were seated at a real working pub, in their tap room, complete with bar and the 'comforting smell of beer and piss', being put into quiz teams, being asked to think of a quiz team name, and then expected to compete and answer the 30 questions of this genuine pub quiz throughout the evening's entertainment.  

Despite the sincerity and realism of the production, which, on both counts, were excellent; I have a couple of concerns about the style of the show and its length. I found that it took rather too long for the play to 'warm up' this evening, and we spent too much time in the company of Kathy and Rav before the dynamic changed with a third character entering. There were too many places where the power of the presentation dipped, either due to a natural pause in the proceedings such as waiting for us to answer the quiz questions or collecting the sheets at the end etc, or due to the dynamic change coming at a time when the audience was still busy chatting over the quiz questions etc. My personal feeling is that this production was just a little too long, and we spent too much time with the quiz, when in fact that should have been the company's secondary consideration. Had we have had a shorter quiz, and the play had been performed without interval, it would have been a much tighter, more realistic, and indeed more impactful production. (pun intended!)

The play starts with the wailing of an old air-raid siren, and we listen to a radio news item about the world's end. This, juxtaposed with fairy lights and gold glitter curtains for the quiz worked well, and Meriel Schofield, as our landlady, Kathy, was unflinchingly excellent throughout, as she deftly negotiated the relationship and sexuality of Rav, and the appearance of her wayward brother and the familial upheavel that unleashed. Nicely complementing Kathy in the pub is Rav, played with a touch of egoism and charm by Matthew Khan. Nicely underplaying his sexuality, one did feel genuinely involved and sympathetic towards both him and Fran's situation. Tilly Sutcliffe being Rav's schoolhood girlfriend, Fran; she came, knowing she was still very much in love with him and wanting to spend her last hours on Earth with him, only to find the reason they broke up was because he knew by going out with her, that he was gay. It was in her quieter moments of reflection, when she simply sat and reacted to what was happening around her that her characterisation was the most believable and strongest. The cast completed with Kathy's errant brother, Bobby, played by Chris Hoyle. Hoyle creating a totally believable and flawed brother with seeming accustomed ease. The denouement - although very predictable - still left a lump in my throat. 

The production is a good one, and the acting is tangible and authentic; however there are moments where the tension dips, the pace is lost, and despite the stellar acting in such close confines, it takes too long to regain composure. With at least 30 minutes cut from this script (that sounds drastic I know!), it would be tighter, less obfuscated, and more intense. 

Reviewer - Matthew Dougall

on - 24.2.22

AMATEUR THEATRE REVIEW: A Very Potter Musical - The Theatre, The Students' Union Building, Manchester.

Long before the triumphant and faithful Musical adaptation on London's West End, there was a ludicrous but lovingly lampooned parody of J K Rowling's famous creations which started life at The University of Michigan in 2009; and has gone on to play smaller theatres and Fringe venues all over the Harry Potter-reading world.

I must, I feel, make a confession at this juncture. I have only read the first book, and only watched the first half of the first film; and consequently have only a scant knowledge and understanding of the characters and storyline. And once it moved away from The Philosopher's Stone into other storylines from later novels, I have to admit to not understanding many of the contrivances, plotlines and characterisations. This however, is not the fault of the company; instead a failing on behalf of the creators of this musical, since one really does need to have a prior knowledge of all the Harry Potter books in order to truly get the most from this musical, and it really ought to be able to stand alone, on its own merit, as indeed musicals like 'Les Miserables' (from Victor Hugo), or '9 To 5' (from the film of the same title) do. 

However, one thing was abundantly clear this evening; and that was that the audience - consisting almost entirely of peers and fellow students - were having a whale of a time. Of course, Harry Potter would have been what they were reading and enjoying in their early teens, and so knew the story and characters and were able to laugh at the outrageousness and mockery which was performed by a youthful, energetic and hugely enthusiastic cast.

Everything this evening, from the cardboard cut-out props to the corny pasquinadery was diligently thought-through. Although my personal favourite simply had to be the large purple dragon! The music and sound levels were perfect; the costuming was deliberately tatty; the lighting was, for the most part, effective, and the cast were clearly having the time of their lives, meaning that this palpable energy carried through into the audience and lifted us all up - despite a late start due to a technical fault, and then having to vacate the building due to a fire alarm! None of this mattered - it was almost as if the whole thing was pre-arranged as a part of the show... a double-bluff parody!

Taking the lead was Xavier Moras Spencer as Harry Potter. His light-coloured tenor voice and the juxtaposition between his self-deprecating body language and his ego, was delightful; but on top of that he was also acrobatic too, making him a very watchable but rather enigmatic performer. His second act duet with Ginny leading into a quartet was simply stunning. ('Love Is All We Need?')

The 'Golden Threesome' as they have become known was completed by the talented Charlie Steggall, as a tall but defintely ginger Ron, and Bella Finch, a stubborn know-it-all Hermione. Hannah McCoy impressed as Ginny, as did Lucy Whelan's Snape. Draco Malfoy (Ella Kendrick) was played with the strangest body-language ever, perhaps because he is a "Slytherin" he needed to snake around on the floor continually - but it was an odd choice. Was this directed or scripted that way I wonder.  As Voldermort, Oscar Brennan's malevolence and deathy make-up impressed; however I detected an American accent coming through at times, and was unsure about why that should have been.

As for the other, lesser characters, it would be impossible for me to pass comment since I am uncertain as to who they were originally before being lampooned! I was waiting to visit Diagon Alley or for Mrs McGonagall or Half-Headless Nick to appear but neither did...!

Directed by Sophie Beake, Musical Direction by Louis de Satgé, and simple but effective choreography by Mollie Henman, it was clear that the cast were in safe hands, as their love for their respective crafts shone through. A very funny and hugely entertaining evening - despite my lack of Potter knowledge I still enjoyed the show in my own way very much.

Reviewer - Matthew Dougall
on - 23.2.22

THEATRE REVIEW: Fatal Attraction - The Opera House, Manchester.

‘Fatal Attraction’ is tipped to be the most gripping stage play of the year. Based on the original and iconic Paramount Pictures Corporation movie it follows the story of happily married attorney Dan Gallagher, who meets charming editor Alex Forrest and entices us to explore the question; what happens when desire becomes deadly? Set in New York, it is an iconic piece of entertainment transported from the screen to stage featuring a cast of household names as it tours the country.

The 1987 film starred Michael Douglas, Glenn Close and Anne Archer in the lead roles, and premiered in the UK in January 1988 following a box office smash in America. The screenplay was originally adapted for the stage and showcased in the West End in 2014, by original writer James Dearden, and is now revived and playing to packed houses up and down the country.

'Fatal Attraction' remains one of the most famous erotic thrillers of its era, spawning new (and mostly derogatory) language about female rage and psychosis. The story follows family man Dan Gallagher (Oliver Farnworth), who has an affair with seemingly unhinged Alex Forrest (Kym Marsh). Not satisfied with a one-night stand, Alex quickly becomes obsessed with Gallagher and intent on destroying his life beyond recognition. In an ending which was rewritten to please studio bosses we see Forrest depicted as a complete psycho on the hunt for revenge at any cost; a horrifying sequence of events which leaves audiences with more questions than answers. This stage play, which was originally penned by Dearden and released in the London West End in 2014 works to rectify some of the original narrative, showing Forrest to be a woman with considerable mental health concerns, something which Glenn Close has spoken about on numerous occasions. During an interview with CBS in 2013, Close commented that given the chance she would have rethought her portrayal of Alex Forrest using it to raise awareness of the issues concerning mental health. Close said ‘the astounding thing was that in my research for Fatal Attraction, I talked with two psychiatrists. Never did a mental disorder come up. That, of course, would be the first thing I would think of now.’ Dearden’s new play aims to address initial concerns and gives Forrest’s mental health concerns more plausibility. The plot has been rewritten, giving the title characters more complexity and making the ending more in line with what he had originally anticipated for the film.

Now, I was expecting a lot from this production considering the film garnered six Oscar nominations, made $320 million worldwide - making it one of America’s highest grossing box offices releases of the year, and is the reason why ‘bunny boiler’ is now featured in the Oxford English dictionary (!), yet the stage play just didn’t deliver. The promo material claims it will be ‘the most provocative and gripping stage play of the year’, but I was left feeling underwhelmed having watched this new stage production. The film features an intensity between the actors which simply was not portrayed on the stage last night, and whilst there was plenty of action, it felt too ‘staged’ and lacked heat, passion, and desire. The original, shocking plot twists, including the famous ‘bunny boiling’ scene seemed comical, and the ending lacked emotion. It is difficult to identify where this production has fallen short, especially as the staging and modernisation has been carefully considered.

Whilst the references to the 1980s remain, director Loveday Ingram chose to modernise the material and brought it up to date with the simple but effective use of modern-day technology. We see projections of video calls and a reliance on technology to really drive forward the idea of stalking through social media intrusion. The staging is cleverly designed by Morgan Large, featuring simple white panels upon which various locations are projected. They are also used to excellent effect to share the video calls, project atmosphere and emotion, and to allow for some split staging moments. A truly fantastic set used effectively throughout.

Oliver Farnworth is stepping into the male title role of Dan Gallagher and has given him a more masculine edge. He is your typical ‘ball busting’ American who appears to always get what he wants. For me, this representation left him with nowhere to go, and the delivery always felt ‘on top note’. It lacked pathos and emotion.

The strongest performance was undoubtedly Kym Marsh. Her performance was believable throughout, from the sultry and seductive temptress in the opening scenes, to the broken, neglected mother to be in the final scenes. Her characterisation was excellent, and her American accent was by far the best. Marsh works hard throughout to deliver a credible performance, ensuring that the role doesn’t simply become a caricature of the film version. She ensures that the sensitive nature of mental health conditions is acknowledged but not damaged. Marsh drives the production with a polished performance.

Gallagher’s wife is played by Susie Amy. For me, this performance was the weakest link. I am undecided as to whether Amy has been let down by a poor script, poor direction or maybe even wrongly interpreted herself, as the character is being portrayed in a way that comes across as though she is constantly irritated by her husband, his workload, indecision regarding their move to the country, indifference to their daughter and life in general. With this in mind, and all things considered it’s not too difficult to appreciate the predicament Gallagher found himself in on that fatal night…

So, is it ‘the most gripping stage play of the year’? I sincerely hope not. Despite some strong performances and an excellent design, this production is lacking, and fatally unattractive.

Reviewer - Jen O’Beirne
on - 22.2.22

NEWS: Comedy Nights a new feature for Manchester's bijou 53Two, with Daliso Chaponda headlining their opening event.

Pies, pints and puns - 53two launch new Stand-Up Comedy Night with ‘Britain’s Got Talent’ Finalist & TV comedian, Daliso Chaponda.

 

13^th March

53two, Manchester

 

 

As 53two readies itself to increase capacity, it seems that now is the right time to launch some new ventures, starting with something that you can’t help but love –Stand Up Comedy.

 

There are already a few comedy nights in the City but none as funny, laid-back and supportive as COMEDY at 53two, beneath the iconic arches of Manchester Central. Hosted by Northern Legend, Big Lou, the evening boasts an awesome, diverse line-up of brilliant comedians from across the UK. So, get your laughing gear ready!

 

 

The first night of what will become, to start with, a monthly occurrence. Cabaret style seating with the usual, iconic 53two sprinkling of quality that Manchester has already grown to love.

 

‘We are a theatre and we will be holding more and more theatrical events, but, we’re also an arts hub and a place to celebrate the craft of all creatives – Stand Up is certainly up there on my list of ‘things you couldn’t pay me enough to do’ but that’s why we love watching it. It’s funny, it’s a little bit scary and usually a whole lot of cheeky. With Big Lou at the wheel, we’re not concerned at all about providing a quality night for our guests.’

Simon Naylor

53two, Creative Director

 

Big Lou, one of the North West diamonds of stand-up has brought together the brilliant Nina Gilligan, born on Manchester’s own comedy circuit, a serial award winner and most recently appearing in the finals of English Comedian Of The Year. With Nina, the brilliant Dan Tiernan, a finalist of New comedian Of The Year ‘21 and winner of Breakthrough Comedian of the Year ’22 at the North West Comedy Awards.

 

Headlining the night is the brilliant Daliso Chaponda, as seen and heard on The Royal Variety Performance 2020 (ITV), Britain’s Got Talent 2017 (ITV), Britain’s Got Talent Champions 2019 (ITV), QI (BBC2), The Apprentice: You’re Fired (BBC2), Good Evening Britain (ITV), The News Quiz (BBC Radio 4), and The Now Show (BBC Radio 4). With over 300 million views of his stand up online, Daliso is also the writer, creator, and host of his Rose d’Or nominated BBC Radio 4 show Citizen of Nowhere that has aired for two series.

 

'53two' is Manchester’s newest arts venue, beneath the behemoth that is Manchester Central. A charity and hub for artists, it prides itself on supporting disenfranchised, disabled and/or underserved artists, striving for diversity and equality. They open daily from 11am providing a place to work meet and play. In April, work begins on completing their theatre into a 150 seater venue for Manchester’s creatives to share their work in.

 

13^th March

7:30pm

£10

(£2 Unwaged tickets)

 

TICKETS: www.53two.com/comedy

THEATRE REVIEW: Bedknobs And Broomsticks - The Empire Theatre, Liverpool.

We gratefully acknowledge the help of SeatPlan in arranging this review.

Check out SeatPlan for the best seats in Liverpool, London and beyond.

Being an absolute fan of the 1971 Disney film, I gleefully ‘bobbed’ along to the Liverpool Empire to watch the new musical adaptation of ‘Bedknobs and Broomsticks’. The charm of the film was captured well and I happily sat reminiscing about my childhood and the joy of magic, but did feel like it fell short of expectation at some moments.

The musical is based on the books 'The Magic Bedknob' and 'Bonfires And Broomsticks', written by Mary Norton in the 1940s. Three young, orphaned children find themselves evacuated and in the care of Eglantine Price, an apprentice witch. The story has pathos, with the kindred link of both themselves, and Eglantine, losing parents at a young age and her plight to rid the world of the evil that is fast approaching. Many of the Sherman songs from the film have been retained, whilst Neil Bartram’s new musical numbers succinctly complement the production, particularly the song ‘Negotiality’, sung fantastically well by Conor O’Hara as the eldest child Charlie. The new songs definitely had that sense of Disney flair that you would expect, but I do wish there had been more ensemble numbers to utilise the fantastic skills that the actors had to offer. ‘Portobello Road’ was a feast for the eyes, and certainly more large cast numbers may have raised the energy and pace of the production as at certain points this did feel lacking. It is indeed the use of the ensemble that I found to be the most captivating quality. That and the magical high jinx, but I will come on to that later. The ensemble were tremendous in the movement of the set and immersive throughout, as if watching the adventure unfold with us. They were experts in ‘being there’ but not upstaging the main actors. I did wonder how they would bring the animals to life on stage and was not disappointed in the use of puppetry in doing so; elements of Lion King and War Horse sensed in these moments. I was however disappointed that the football scene from the Disney Version did not make it to the stage, neither did Eglantine’s cat, which could have easily have been done as a puppet.

Harrison and Candice Edmunds' vision of translating the film on to the stage is noble and quirky. Harrison’s set design accompanied the production efficiently, the bombed-out buildings of London framing the action, symbolic of the children’s lives being torn apart, only to be reunited at the end once the children felt they had found a home. The use of lighting, designed by Simon Wilkinson, was expertly used in order to enable the illusions of the flying bed and Eglantine’s flying foray in to the sky. There was a lot of back-lighting in order for this to work. At times the set did feel a little dark, some of the exquisite costumes by Gabriela Slade did not have their chance to shine, but it was understandable due to the complexity of the tricks. The magical elements had both adult and child amazed, questioning many times how they managed to achieve some of the tricks, particularly one moment when the bed seemingly flew through an open window. The wizardry from the technical department was certainly a star of the show! 

On to the main stars. Diane Pilkington portrays the role of Eglantine Price superbly, her comic timing and rapport with the child actors was undeniable; her voice was a joy to behold and her expertise on stage exceptional. Charles Brunton is extremely likeable as Emelius Brown, making the role his own, rather than replicating David Tomlinson’s well known portrayal in the Disney film. The roles of the children were expertly cast, albeit that Conor O’Hara certainly looks older than thirteen, but we can suspend our disbelief for that one.

There are plenty of amazing moments in the production. The opening sequence is emotional and fast paced, superbly setting the tone of the war. The ‘Briny Sea’ was exciting to watch, the use of puppetry in this section was particularly effective, with the comedic fish and the tricks were fantastic. However, the fight scene at the end felt anti-climatic, and I did feel that it was lacking in more ensemble, high energy numbers to provide pace. Some form of powerful ballad for Eglantine, to showcase Diane Pilkington’s voice possibly. I just left feeling a little underwhelmed, although truly enjoying the experience as a whole.

Reviewer - Catherine Owen
on - 22.2.22

THEATRE REVIEW: Private Lives - The Lyceum Theatre, Sheffield.

Coward’s 'Private Lives' was premiered in 1930, in a dark time for the world. One year on from the Wall Street Crash, the economies of western countries were in disarray, mass unemployment had become a fact of life, with every suggestion that things would get a good deal worse before they began to get any better.  As the Master himself said, ‘There are bad times just around the corner...’ Nevertheless, his light-as-air play concerning the romantic tergiversations of a quartet of spoiled, rich dilettantes triumphed on both sides of the Atlantic and has held the stage ever since ....

Ninety years on, and with an international situation every bit as worrying, 'Private Lives' returns in this touring version from the Nigel Havers Company, directed by Christopher Luscombe. Its durability is partly explained by its adroit blend of romance and comedy, a number of imperishably witty lines and exchanges and its status as a vehicle for either very good character actors or, as here, mainstream stars. 

Havers, in a performance that seemed to delight those who’d come out specifically to see him, played Elyot Chase as very much the silver fox, all kitted out with trophy second wife Sybil (Natalie Walter) and looking forward to a less intense version of conjugal bliss. Finding himself booked into an adjoining room in the same Riviera hotel as his previous spouse Amanda (Patricia Hodge), on her own honeymoon with new husband Victor (Dugald Bruce-Lockhart), he finds himself irresistibly drawn back into old ways and old habits as he and Amanda reminisce about their time together and, with the aid of some exceedingly potent cheap music, they realise that they’re still in love and decide spontaneously to jettison their respective partners and escape to Paris. 

Leaving aside the improbable coincidence on which it hangs, the first act is a wonderful piece of mechanism that sets up the situation and delivers the laughs with consummate skill. But the second act is a less straightforward affair as Elyot and Amanda telescope their relationship’s ups and downs while idling about in Amanda’s Paris flat. The present critic has always felt that Coward sets the actors a considerable challenge here, for not only must they continue to amuse, they must also retain the audience’s interest and sympathy if they’re not to come across as a pair of elderly spoiled children.   Unfortunately, the tension sagged somewhat here and the pace was never entirely recovered; not even Hodge’s considerable comedic and terpischorean skills could rescue the second half. 

Nevertheless, there was still much to enjoy, principally the contribution of experienced Cowardian Hodge. It’s been ungallantly suggested that both she and Havers are too old for their roles, but that criticism hardly holds water: flightiness and irresponsibility are not the exclusive preserve of the young!

Reviewer - Paul Ashcroft.
on - 22.2.22 

NEWS: Smash-hit Musical Jersey Boys comes to Bradford this March. - The Alhambra Theatre, Bradford.

TONY & OLIVIER AWARD-WINNING SMASH HIT MUSICAL JERSEY BOYS RETURNS TO BRADFORD

The Alhambra Theatre

Tuesday 8 - Saturday 19 March 2022

Tickets £61.50 - £21.50*

Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk

*All prices shown include booking fees but are subject to postage charge if applicable. Bradford Theatres’ usual terms and conditions apply.

The producers and creative team are delighted to announce that the Tony, Grammy and Olivier Award-winning musical JERSEY BOYS will head out on a new tour of the UK and Ireland, arriving at the Alhambra Theatre, Bradford in March 2022.

Previous tour alumni Michael Pickering and Lewis Griffiths return as Frankie Valli and Nick Massi respectively, with Blair Gibson as Bob Gaudio and Dalton Wood as Tommy DeVito. Luke Suri will play Frankie Valli at certain performances.

Also in the cast are Dougie Carter (Hank Majewski), Ryan Carter-Wilson (Swing), Emma Crossley

(Mary Delgado), Jordan James (Gyp DeCarlo), Norton James (Norm Waxman), Michael Levi (Bob Crewe), Tom O’Brien (Swing), Nathan Routledge (Swing), George Salmon (Joe Pesci), Ellie Seaton (Lorraine), Daisy Steere (Francine), Amy West (Swing), and Damien Winchester (Barry Belson).

JERSEY BOYS is written by Marshall Brickman & Rick Elice, with music by Bob Gaudio and lyrics by Bob Crewe.

Go behind the music and inside the story of Frankie Valli and The Four Seasons in the Tony and
Olivier Award-winning, true-life phenomenon, JERSEY BOYS. They were just four guys from New Jersey, until they sang their very first note. They had a sound nobody had ever heard… and the radio just couldn’t get enough of. But while their harmonies were perfect onstage, off stage it was a very different story—a story that has made them an international sensation all over again. From the streets of New Jersey to the Rock and Roll Hall of Fame, this is the musical that’s too good to be true. The show is packed with their hits, including Beggin’, Sherry, Walk Like A Man, December, 1963 (Oh What a Night), Big Girls Don’t Cry, My Eyes Adored You, Let’s Hang On (To What We’ve Got), Bye Bye Baby, Can’t Take My Eyes Off You, Working My Way Back to You, Fallen Angel, Rag Doll and Who Loves You.

Recipient of Broadway’s Tony, London’s Olivier and Australia’s Helpmann Awards for Best New Musical, JERSEY BOYS is the winner of 65 major awards and has been seen by over 27 million people worldwide.

JERSEY BOYS originally opened in New York on 6 November 2005 and, by the time it closed on 15 January 2017, it was the 12th longest running show in Broadway history. It returned to New York with a new production in November 2017. The JERSEY BOYS US National Tour is still breaking house records in cities across North America.

JERSEY BOYS first ran in London’s West End from 18 March 2008 to 26 March 2017 – nine amazing years – and, at the time, was the sixth longest musical running in the West End. This year, the musical returned to the West End, opening the new multi-million pound reinstated Trafalgar Theatre on 10 August 2021. JERSEY BOYS previously played two record-breaking UK and Ireland Tours from 2014 to 2016 and from 2017 to 2019.

The JERSEY BOYS UK and Ireland Tour will be staged by the entire original Broadway creative team, led by the Tony Award-winning team of director Des McAnuff and choreographer Sergio Trujillo, with scenic design by Klara Zieglerova, costume design by Jess Goldstein, lighting by Howell Binkley, sound by Steve Canyon Kennedy and projections design by Michael Clark. The orchestrations are by Steve Orich and the music supervision and vocal arrangements by Ron Melrose. Casting is by Jill Green.

AMATEUR GYMNASTICS REVIEW: Gymfusion - The Lowry Theatre, Salford.

Q: What do you get when you mix gymnastics and theatre? A: Gymfusion on the main stage at Salford's Lowry Theatre. Not normally two things which go together, I hear you say... and you'd think not. However, after attending this year's (annual under normal circumstances) Gymfusion event at The Lowry Theatre, I can honestly say that to my untrained and novice understanding of gymnastics, this was far more like contemporary dance and far more theatrical than I had envisaged. 

When I think of gymnastics, I hark back to my schooldays of gymnasiums full of foreboding and unwieldy apparatus: large ropes hanging from the ceiling, climbing frames, pommel horses, vaulting boxes, and goodness knows what else. I always had a slight panic attack at such lessons, since as an actor and dancer, I felt I was far too 'delicate' to put myself through such excess! Oh, how times have changed! I find now, at least from today's experience, that the majority of gymnastics is what is commonly referred to as 'floor work'. This is leaping, tumbling, acrobatics etc, choreographed to music, on a large mat. The modern parlance I believe is 'Rhythmic Gymnastics'. And this is what, with only two exceptions, was presented this afternoon in Salford. 

British Gymnastics hold events such as this around the country, in order to celebrate, collaborate, network, and support the many local amateur gymnastics clubs there are, and the incredible talent that walks through their respective doors. The vast majority of the young performers on stage this afternoon were between 7 and 15 years old and it was truly amazing to see just how flexible, skilled, and indeed fearless some of them truly were!

It is here that I begin to falter somewhat. As previously mentioned my last brush with gymnastics was at school (a-hem..... a long time ago...!), and so I am unable to give any technical or professional analysis of anything I saw. I can simply tell you about the items in the way in which I saw and interpreted them. As an actor I was looking for a total presentation from the groups. A true ensemble feel, (the amount of trust they must have for each other is incredible); interesting and appropriate choreography and a good use of the space, as well as a feeling that the gymnastc themselves were actually enjoying what they were doing.

Another problem I have with this review is that there were no programmes of any kind (not even a simple running order) available, and despite there being two comperes introducing the groups, this part of a theatrical presentation was missing, and so the information I have available on each group is simply the name of their organisation, and sometimes, if the comperes remembered to announce it, the title of the piece. 

If I scribbled the names down correctly, then the gymnastic groups taking part in this afternoon's showcase were: Kingston Vale Hawks, Tornadoes, and Cheer teams; Allegro Display Teams (Junior and Senior), HPL Juniors and Seniors, Red Shoes Academy (2 groups), Fusion Gymnastics And Cheerleading Academy, Penketh Gym Club, Urban School Of Gymnastics, Leeds Display Team (Junior and Senior), City of Lancaster Gym Club, and Warrington Gymnastics Club. 

It would be the longest review ever written if I were to mention all, other than congratulate them and say they were all mightily impressive. Even without considering that this would have been the first time some of them have ever performed on a stage in front of a audience; and even without the fact that there has been virtually nothing in the way of in-person training over the last two years; they were all fantastic and it was a delight to see. However, if you will indulge, I do want to mention the few items in the showcase which I personally (purely subjective) enjoyed more.

The presentations which I enjoyed the most were those which were the most theatrical (obviously! I'm coming at it from a different angle!). I looked at costuming, music and lighting used, storyline created (if appropriate), and of course the dancing.... I am knowledgeable on that at least! In these instances I really enjoyed:

1) "Soldier On" performed by Red Shoes Academy. The protagonist in their story was miming to the song and emoting as she portrayed the girl in love with the soldier. A simple but atmospheric story conveyed well. 

2) "Seven Years" performed by Penketh Gymnastics Club. This saw a wonderful collaboration between 5 very young girls and a slightly larger group of teenagers, as they combined their skills in this almost balletic routine. Beautiful.

3) The Leeds Senior Display Team (title unknown). I enjoyed the wholeness as they finished the piece with a similar picture to their start, and the use of space and creative lifts and tumbles were performed with seeming effortlessness. 

4) "Follow Your Dreams" performed by Kingston Vale Tornadoes. A very theatrical and upbeat presentation with Peter Pan characters, bringing the story to a new level. Again the tumbles, lifts and use of space were creative, and they were one of only two groups to incorporate trampolines and a vaulting box into their routine. Very impressive.

5) "Six" performed by HPL Senior Troupe. using the soundtrack of the modern Musical phenomenon, 'Six', we clearly saw the six wives of Hery VIII dancing with a large ensemble. The costuming, the pictures created, the lifts, and indeed the whole upbeat and joyous theatricality of this piece made it a firm favourite for me.

6) "Cleudo" performed by Allegro Senior Display Team. Again, a very theatrical and interesting idea, using the film (and board game) 'Cleudo' as inspiration for their rather sinister routine.

From a theatrical presentation point of view, when using the Lowry's main stage, the large rear screen with continually moving images, messages, pictures, etc was very distracting. The images etc displayed on here did not, in any way, relate to or complement what was happening on the stage, and therefore dimished the presentations. 

However, once again, hat's off to all. Truly inspiring and entertaining. Thank you.

Reviewer - Chris Benchley
on - 20.2.22